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DECEMBER 13, 1945 - JANUARY 13, 1946 


of the least known to the public is Ralph Earl. 
Until recent years his reputation was eclipsed by more 
cosmopolitan figures like Copley and Stuart. Little has 
been known about his life and no book has yet appeared 
on him. 

The immediate occasion of the present exhibition is the 
forthcoming publication of a volume on Earl by the dis- 
tinguished authority on early American art, William 
Sawitzky, who has devoted years to gathering informa- 
tion on the artist's life and work. We consider ourselves 
fortunate in having secured Mr. Sawitzky's cooperation in 
the selection of pictures and in writing the catalogue intro- 
duction and text. We wish to acknowledge the generosity 
of the New York Historical Society, under whose auspices 
Mr. Sawitzky is carrying on his work, in making it pos- 
sible for him to give the necessary time to this exhibition; 
and also the courteous cooperation of Mr. R. W. G. Vail, 
Director of the Society, and Mr. Donald A. Shelley, its 
Curator of Paintings. 

The Worcester Art Museum had for some time been 
planning an Earl exhibition, and it was decided to make 
this a cooperative enterprise. We wish to express our in- 
debtedness to Miss Louisa Dresser, Acting Director of the 
Worcester Art Museum, for her invaluable assistance in 
selecting and assembling this exhibition. 

Juliana Force 


The Whitney Museum of American Art wishes to make grate- 
ful acknowledgment to the collectors, museums and other insti- 
tutions who have generously contributed works as loans to this 
exhibition : 

Addison Gallery of American Art 

Albright Art Gallery 

Mr. and Mrs. Joseph W. Alsop 

Amherst College 

Museum of Fine Arts 

Mr. Ledyard Cogswell, Jr. 

Connecticut State Library 

Andover, Mass. 

Buffalo, N. Y. 

Avon, Conn. 

Amherst, Mass. 

Boston, Mass. 

Albany, N. Y. 

Hartford, Conn. 

New York, N. Y. 

Mrs. W. Murray Crane 

Davenport College, Yale University, New Haven, Conn. 

The Detroit Institute of Arts Detroit, Mich. 

Mrs. Walter R. Herrick New York, N. Y. 

Mr. Charles Goodhue Huntington 

West Los Angeles, Cal. 

Mrs. Frederic Hanes Lassiter 
Mr. and Mrs. Charles C. Lawrence 
The Litchfield Historical Society 
Mr. William T. Lusk. 
Mrs. William G. Mather 

New York, N. Y. 

New York, N. Y. 

Litchfield, Conn. 

New Canaan, Conn. 

Cleveland, Ohio 

The Metropolitan Museum of Art New York, N. Y. 

Mr. Walter L. Mitchell Newark, N. J. 

Munson-Williams-Proctor Institute Utica, N. Y. 

Museum of the City of New York New York, N. Y. 

William Rockhill Nelson Gallery of Art 

Kansas City, Mo. 

New Milford Historical Society 

New York Public Library 

Mrs. John T. Nichols 

Mrs. Edwin Melville Roberts 

Mr. Joseph T. Ryerson 

Mrs. Origen S. Seymour 

Mr. Cornelius Boardman Tyler 

Mrs. Percy Shelton Weeks 

Worcester Art Museum 

Yale University Art Gallery 

New Milford, Conn. 

New York, N. Y. 

Mastic, N. Y. 

Worcester, Mass. 

Chicago, 111. 

Litchfield, Conn. 

Plainfield, N. J. 

Oyster Bay, N. Y. 

Worcester, Mass. 

New Haven, Conn. 

The double portrait of Chief Justice and Mrs. Oliver Ells- 
worth, one of Earl's most important works, owned by the 
Wadsworth Atheneum, Hartford, which was unfortunately 
unavailable for loan, is represented by a photograph and 


THE present exhibition of forty-seven portraits 
and two landscapes by Ralph Earl not only 
marks the steadily growing appreciation of one 
of our most interesting eighteenth-century artists, but for 
several reasons can be regarded as an event of distinct 

Until a decade ago it was next to impossible to gain a 
broad view and to form a well-balanced opinion of this 
New Englander's achievement, as no attempt had ever 
been made to assemble a sufficiently large number of his 
paintings in galleries permitting their study under favor- 
able conditions. Those in public collections were few and 
far between. In Greater New York, the Metropolitan 
Museum owned one, from his English years; the New 
York Historical Society, two, painted after Earl's return 
to America, one regrettably coming to the Society in a 
poor state of preservation; the Brooklyn Museum had 
acquired one of the artist's Connecticut canvases. In New 
Haven, the Yale Gallery of Fine Arts displayed three, 
including the very early portraits of the Reverend Buck- 
minster and Roger Sherman. In Hartford one could see 
an excellent example in the Wadsworth Atheneum, and 
another in the Connecticut State Library. In Worcester, 
near which city this gifted member of a Massachusetts 
family had come into the world, the Worcester Art 
Museum had been quick to seize the opportunity for pur- 
chasing, first, two of his earliest English portraits, then one 
of his rare landscapes — as good fortune would have it, one 
of especial local interest to Worcester — and several years 
later the impressive full-length of an unidentified English 

gentleman. The total number of paintings by Earl which 
fifteen years ago were accessible for study and enjoyment 
in good light and at the proper distance, was thirteen. Since 
then, Yale University has come into possession of four more 
outstanding examples, the Albright Art Gallery in Buffalo 
has acquired two equally fine portraits, and art museums 
in Boston, Andover, Detroit, St. Louis and Kansas City 
have purchased one each. The remainder of about one 
hundred and ten were and still are in the possession either 
of descendants of the sitters or of local historical organi- 
zations, not always equipped to display large oil paintings 
to advantage. 

It was only in 1935, the year of the Connecticut Tercen- 
tenary Celebration, that Ralph Earl was rediscovered, 
much to the surprised delight of those who while genuinely 
interested in our historical and cultural background, lack 
either the compelling urge or the necessary training and 
time to go and search for certain phases of it in out-of-the- 
way places. During a week in July of that year, the small 
town of Litchfield, mindful of its past contributions to the 
cultural life of the country, arranged in the local high 
school several exhibitions designed to illustrate the settle- 
ment and development of Litchfield County. They included 
a group of seventeen portraits and a landscape by Earl, the 
largest ever brought together up to that time, though 
eleven were owned by the Litchfield Historical Society, 
another three were lent by a local resident, and only four 
came from other places. This was soon followed by the 
Yale Gallery of Fine Arts 1 exhibition of two landscapes 
and thirty-four Connecticut portraits by Earl, the first 
really representative display of his work, and the only 
"one-man show" ever accorded to him during all of the 
one hundred and thirty-four years which had passed since 
his death. An illustrated catalogue with short biographical 
and technical data added measurably to its interest and 
educational value. There can be no doubt that this exhibi- 
tion at Yale University ten years ago resulted in restoring 

to Ralph Earl the high place in American art which is his 
by virtue of his ability and the sum total of his production, 
a place not recognized by five generations that followed his 

It is in the light of these facts that the significance of the 
present exhibition becomes clear. Whereas the Yale Gallery 
purposely limited itself to Earl's Connecticut portraits, the 
Whitney Museum of American Art and the Worcester Art 
Museum saw the desirability of assembling chosen ex- 
amples of all three of the artist's "periods." Combining 
their facilities, the two institutions have succeeded well 
indeed, though — as must always be expected on such occa- 
sions — not every request for the loan of a picture was 
granted. Thus the historical painting A View of the Town 
of Concord, c. 1775, and two landscapes, The Elijah Board- 
man House in New Alii ford, c. 1796, and A View of Ben- 
nington, Vermont, c. 1798, are missing, which must be 
regretted, as none of them has ever been exhibited and 
they have remained virtually unknown. Among the por- 
traits that could not be obtained for the exhibition is a half- 
length of Capt. Silas Talbot, for many years erroneously 
and very strangely attributed to Gilbert Stuart and also 
to Benjamin West, though it is quite plainly signed by 
Ralph Earl. It was painted in October, 1785, at Provi- 
dence, Rhode Island, which is documented by the artist's 
written receipt for payment, still extant, an important fact 
as it fixes the year of Earl's return to his native country as 
1785 and not the previously assumed 1786. These and a few 
other disappointments were greatly outweighed by a re- 
markably liberal and cooperative attitude on the part of 
most owners. The realization appears to be gaining ground 
that early family portraits owned by descendants, while 
first and foremost private property, if they have artistic or 
historical value also belong — in a deeper sense — to our 
entire nation, as part of its cultural heritage. 

The forty-seven portraits shown at this time cover Ralph 
Earl's entire career, which coincides with the last quar- 

ter of the eighteenth century. Like other human beings, 
and particularly those with so-called "artistic tempera- 
ment," a term which has been found to cover a multitude 
of sins, Earl was uneven in his work, though perhaps not 
as uneven as has been stated. True enough, the paintings in 
this exhibition were chosen for their quality, but the pres- 
ent writer has seen almost every one of the about one 
hundred and thirty which so far have come to light, and 
it seems to him that the artist's "batting average 1 ' was 
remarkably high. His best and most fruitful years were 
those from 1788 to 1794, spent in charming towns like 
Litchfield, New Milford and Greenfield, and also in Stam- 
ford, Hartford and New London, among their wealthy 
and cultured residents, who appreciated Earl's talent fully, 
and must have overlooked his weaknesses, such as his all 
too great devotion to the cup that cheers. During 1795 he 
painted hardly anything, but in 1796 produced a number 
of outstanding portraits, and another few excellent ones 
in 1797-98. Then a sudden and appalling deterioration 
took place. One of the few portraits which he painted in 
1799, and another three in 1800, are so pitiful to behold 
that it would be impossible to accept them as his work if 
they were not fully and authentically signed and did not 
show his well-known formula of composition and color. It 
is necessary to be familiar with Earl's entire production 
to realize that these last few pictures are actually from his 
hand, and not — as could be suspected — the work of a very 
inferior imitator or of the artist's young son, who at that 
time was in his early 'teens. Ralph Eleazar Whitesides 
Earl had evidently some instruction from his father, and 
in 1800 painted the portrait of a child in one of the families 
which employed Ralph Earl, Sr. It is undeniably a better 
piece of painting than the portraits of the child's parents, 
and it is signed R.E.W.Earl Pinxt. 1800. The shorter signa- 
ture R.Earl seems to have been used by the son only after 
his father's death. 

Of the one hundred and thirty or so portraits so far 

discovered, no less than ninety-six are signed and dated, a 
very high percentage, since the majority of eighteenth- 
century artists signed only a few of their paintings or 
did not sign them at all. With so many "key pictures 1 ' in 
existence, Earl's work offers no problems in regard to au- 
thorship, provided the painting under scrutiny is in fairly 
good physical condition and has not been tampered with 
by incompetent "restorers," which in several instances will 
be found to have been the case. 

There is, at any rate, little excuse for about thirty erro- 
neous attributions to Earl — several based on forged signa- 
tures or inscriptions — and for the regrettable fact that a 
few of these are still displayed in public collections. Among 
the authentic, though unsigned portraits, the minor prob- 
lem of dating arises in those few cases where the identity 
of the subject is either unknown, or the identification is 
open to doubt. 

The artist's childhood and youth have remained a closed 
book, and the chances are slim that anything of impor- 
tance will ever be learned. Nor do we know whether he 
was entirely self-taught or had at least a few lessons in the 
basic principles of painting, and if so, from whom. Though 
it is possible to make one or two suggestions for what they 
may be worth, such conjectures would lead us too far on 
rhe present occasion. Also the artist's two marriages, one 
in 1774 in this country, the other about 1784-85 in Eng- 
land and his subsequent desertion of both wives, need not 
be discussed here. 

The only two portraits attributed to Ralph Earl solely 
on grounds of spirit, style and certain mannerisms, are 
those of the Reverend Joseph Buckminster (No. 1) and 
Roger Sherman (No. 2). Having explored the field of 
early Connecticut portraiture quite thoroughly this writer 
has never encountered any other likenesses of the period of 
about 1770 to 1780 which in his opinion can be connected 
with these two. They stand alone, and there is circumstan- 
tial evidence that, contrary to the belief held by some writ- 

ers, Earl had very little opportunity to paint portraits be- 
fore he sailed for England early in 1778. The only other 
artist of the locality, whose early style and technique come 
fairly close to what we can observe in the Buckminster and 
Sherman portraits, was, of course, John Trumbull, 1756- 
1843. We have Trumbull's own word to the effect that be- 
fore his first trip to England, in the spring of 1780, he was 
entirely self-taught. From the small group of portraits still 
extant, painted by Trumbull prior to May, 1780, it is, how- 
ever, evident that at that time he was a better draughtsman 
than Earl. In addition his modeling of features and hands 
in these early portraits — not in the later ones — is much 
stronger, and the facial expressions of his subjects are live- 
lier, sometimes even slightly exaggerated. It is instructive 
to compare Trumbull's double-portrait of his parents 
seated at a table (Connecticut Historical Society), and the 
group picture of his brother Jonathan, with wife and 
daughter (Yale University Art Gallery) , with Earl's Buck- 
minster and Sherman. It is equally enlightening to study 
these last-mentioned two portraits again after seeing such 
other Earls as William Carpenter (No. 4) , Benjamin Tall- 
madge (No. 20), William Taylor (No. 23), Mrs. Richard 
Alsop (No. 30), Huldah Bradley (No. 35), and Mrs. 
Sherman Boardman (No. 42). The terms "spirit" and 
"style", used at the beginning of this paragraph, are just as 
difficult, perhaps even impossible to explain, as what con- 
stitutes real poetry, — certain things must be felt before they 
can be understood. When it comes to painting, it was an ar- 
tist, Sir John Millais, who remarked that paint was paint 
and talking talk, and that the one could not be expressed in 
terms of the other. In the case of Roger Sherman's portrait, 
its attribution to Earl finds additional support in the exist- 
ence of an early engraving by Simeon S. Jocelyn, published 
in 1823 with the statement that it was "from a painting by 
Earle." Circumstantial or any other external evidence, it 
stands to reason, has value only if it falls into line with the 
internal evidence presented by the painting itself. This, in 

the writer's opinion, applies to the portrait just mentioned. 
The historical picture A View of the Town of Concord, 
c. 1 775, and the likenesses of Buckminster and Sherman, 
c. 1 775-77, are at this time the only paintings attributable 
to the artist's "first American period." Of his "English pe- 
riod," covering the seven years from April, 1778, to the 
summer or early autumn of 1785, so far not more than nine 
examples have been found. They include the attractive full- 
lengths of Mary Carpenter (No. 3), and her previously- 
mentioned brother William, both signed and dated 1779, 
the painter's earliest known signatures. While still quite 
awkward in arrangement, and filled with all too many 
interfering shapes and lines, the picture of the young Nor- 
folk girl has a certain ease, and her features are free of the 
masklike hardness which characterizes the two early Amer- 
ican portraits, indicating that Earl by that time may have 
had the benefit of either lessons, or, at least, constructive 
criticism, most likely from his countryman Benjamin West. 
The portrait of William Carpenter marks a further ad- 
vance, being simple in composition and striking in color. 
Earl's realistic rendering of the two pieces of furniture tes- 
tifies to his interest in objects of this kind, already mani- 
fested by the careful attention he gave Roger Sherman's 
low horseshoe-back Windsor armchair, with saddle seat and 
bulbous side- and cross-stretchers, a real collector's item. 
Nothing has been found to show what the artist did during 
the years 1780-82. It can be assumed that he followed his 
profession in the County of Norfolk and, perhaps, also in 
other parts of England. If so, and in case the paintings have 
survived, they still have to be discovered. For the years 
1783-84 we have the portraits called Lady Williams and 
Child (No. 5), Mrs. Ralph Earl (No. 6), and the Gentle- 
man with a Gun and Two Dogs (No. 8). There is stylistic, 
as well as documentary evidence that Dr. Joseph Trum- 
bull (No. 7), a physician and apothecary from Worcester, 
Mass., sat to Earl for his unsigned portrait in London in 
1784. The fine full-length, assumed to be a portrait of Gen- 

eral Gabriel Christie (No. 9), seems technically closer to 
the Gentleman with a Gun and Two Dogs than to some 
later American full-lengths, and may have been painted in 
England, c. 1784-85, though it could with equal justification 
be assigned to the first few years of the artist's second Amer- 
ican period. This is a case where the still somewhat uncer- 
tain identification of the subject makes a more exact dating 

The broad and vigorous brush-work employed by Earl 
in the two full-lengths mentioned above, shows that by the 
middle 1780's he had arrived at the style and technique he 
was to use throughout the most important part of his ca- 
reer, the "second American period", with the exception of 
the two or three years before his death. Of the thirty-seven 
portraits and two landscapes, representing the years 1786- 
98 in the exhibition, nine have never before been publicly 
shown, and Dr. Trumbull's London portrait brings the 
number up to ten. All these canvases demonstrate the 
artist's strong feeling for pattern and brilliant color, the 
solidity of his design, his direct and simplified character- 
ization, his interest in details of costume, furniture, floor- 
cloths, draperies, books, and many small accessories of his 
time, as well as in our native countryside. His weaknesses 
can be found in occasional faulty passages of composition, 
in a certain overcrowding, in his often clumsy treatment of 
hands, and here and there in slips of draughtsmanship. 

Taken as a whole, the work of Ralph Earl, now shown 
for the first time in its entire scope, proves once more that 
early American art, while never great in imaginative qual- 
ities, has the lasting appeal and value of honesty, simplicity, 
and a gratifying absence of overstatement. 

William Sawitzky 
Stamford, Connecticut. 


1751, May 11 

Born in Worcester County, Mass.; eldest 
son of Ralph and Phoebe (Whittemore) 


Has a studio in New Haven and in the sum- 
mer travels with his friend Amos Doolittle, 
an engraver, to Lexington and Concord, 
making sketches of the localities which in 
April had seen the first armed encounters 
of the Revolutionary War. From these 
sketches Doolittle engraves four prints 
which are advertised for sale at the store 
of James Lockwood, New Haven, in De- 

1778 (March?) 

1778- 1785 

1785, October 

1786- 1788 

1789- 1790 



Sails from a New England port. Arrives 
in England in April. 

Active in London and, it seems, other parts 
of England, though he can be located with 
certainty only in the County of Norfolk. 
During the three years 1783-85 he exhibits 
four portraits at the Royal Academy. 

Is in Providence, R. I., and paints a portrait 
of Capt. Silas Talbot. 

Active in New York City, and Stamford 
and Greenfield, Conn. 

New York City; New Milford and Litch- 
field, Conn. 

Litchfield and Hartford, Conn.; New York 

Long Island; Middletown, Hartford, 
Windsor, and New London County, Conn. 

1793 New London and New London County, 
Conn.; (New York City?); Long Island. 

1794 Long Island; New York City; Greenfield 
and New Haven, Conn. 

1795 Greenfield and New Milford, Conn. 

1796 New Milford, Litchfield, and Sharon, 

1797 Woodstock and Fairfield, Conn. 

1798 Fairfield, Conn.; Bennington, Vt. 

1799 Northampton, Mass. 

1800 Northampton, Cherry Valley, and Wor- 
cester, Mass. 

1801, Aug. 16 Dies, at the age of fifty, in the home of 

Dr. Samuel Cooley, a physician, at Bolton, 
Conn. The Rev. George Colton, pastor of 
the church at Bolton, enters the artist's 
death in his journal, giving "intemperance" 
as the cause. 

Aug. 24 The Connecticut Courant publishes an obit- 

uary notice of six lines. 


The portraits are listed chronologically, according to their 
definitely known or approximate dates. Towns and cities men- 
tioned are in Connecticut, unless otherwise stated. All paintings 
are oil on canvas, and the stretcher dimensions are given in 
inches, height preceding width. An asterisk indicates that the 
picture is illustrated. 


1751-1812. Graduated from Yale, 1770; tutor at Yale 
1774-78; ordained pastor of the North Church in Portsmouth, 
N. H., 1779. This portrait, showing him at the age of about 
twenty-five to six, is the only one of him known to exist. Its 
attribution to Ralph Earl is based on stylistic reasons and dis- 
cussed in the Introduction. 35% x 31. Painted c. 1775-77. 

Lent by the Yale University Art Gallery 


1721-1793. Signer of the Declaration of Independence 
from Connecticut, and one of her most eminent men. By trade 
a shoemaker, like his father, he studied surveying and law, 
practising both professions. Admitted to the bar in 1754; judge 
of the Connecticut Superior Court, 1776-85; delegate to the 
Continental Congress, 1774-81, and again in 1784; to the Con- 
stitutional Convention, 1787; member of Congress, 1789-93, 
first as representative, then as senator. The only man, except 
Robert Morris, to sign the Declaration of Independence, which 
he helped to draft, the Articles of Confederation in 1 78 1 , and 
the Federal Constitution in 1787. As with the preceding, the 
attribution of this portrait to Ralph Earl is based on its spirit 
and style, and discussed in the Introduction. It is also supported 
by family tradition, though in general such traditional attribu- 
tions are found to be acceptable only when corroborated by the 
internal evidence presented by the painting itself. 64% x 49%. 
Painted c. 1775-77. 

Lent by the Yale University Art Gallery 


c. 1763- ?. Daughter of William Carpenter of the Par- 
ish of Aldely, Norfolk, England. Married Dr. Thompson 
Foster, senior surgeon at Guy's Hospital in London. The sig- 
natures on this and the companion portrait of William Car- 
penter are the artist's earliest which have come to light. 
48 x 35. Signed and dateci 1779. 

Owned by the Worcester Art Museum 


1767-1823. Of the Parish of Aldely, Norfolk, England, 
and later of Toft Monks, Norfolk. Brother of Mary Carpen- 
ter. 47V2 x 35. Signed and dated 1779. 

Owned by the Worcester Art Museum 


The New York art dealer who purchased the painting 
in England about 1905-06 did not secure any biographical in- 
formation about the subjects. 50I4 x 39%- Signed and dated 
1 7^3* Lent by The Metropolitan Museum of Art 


c. 1 762-1 826. Ann, daughter of Eleazar Whitesidcs of 
Norwich, England. Second wife of the artist, whom she mar- 
ried in England c. 1784-85. Had by him two children; Mary 
Ann, who married Col. Benjamin Higbie, of Troy, N. Y., and 
Ralph Eleazar Whitesides Earl, who became a portrait painter. 
Up to the present no definite proof has been found that she 
is actually the subject of this portrait. 46 r > s x 37%- Signed 
and dated 1784. Lent by Amherst College 


Born 1756 at Suffield, died 1824 at Worcester, Mass. 
Son of Joseph and Obedience Trumbull. Married Elizabeth 
Paine of Worcester in 1786. A physician, he frequently visited 
Europe, passing much time in London. His will bequeathed to 
his son "my half-length portrait painted in London in 1784." 
30 x 25. Painted c. 1784. 

Ozvned formerly by Frances Trumbull Lea. 
Present owner Louisa Trumbull Roberts 
(Mrs. Edwin Melville Roberts) 


No information regarding the identity of the subject 
was obtained by the art dealer who acquired the painting from 
an estate in Brighton, England. 87 x 66. Signed and dated 1784. 

Owned by the Worcester Art Museum 


Up to the present it has not been possible to establish 
the identity of the subject of this striking portrait with desir- 
able certainty. It is said to be a likeness of Gen. Gabriel Christie 
( 1 722-1799), youngest of the three sons of Provost James 
Christie and his wife Catherine Napier. This may well be the 
case, and it is to be hoped that continued research will succeed 
in answering what is still an open question. The scanty accounts 
of Gen. Christie's life which have been published, agree about 
some facts and disagree about others. He was, it seems, a 
member of a Scottish family and entered the British army when 
about twenty years of age, became captain in 1754, and was 
appointed by Gen. Abercrombie assistant-deputy quartermaster 
of the army in North /America in 1756. His subsequent promo- 
tions culminated in those to lieutenant-general in 1793 and to 
general and acting commander-in-chief of the British forces in 
Canada in 1798. He became a large landowner in Canada. 
82 x 53I/2. Painted c. 1784-88. 

Lent by the William Rockhill Nelson Art Gallery 


1730-1794. Born in Magdeburg, Germany. Staff officer 
and aide-de-camp to Frederick the Great during Seven Years' 
War, 1756-63. Came to America in 1777. Introduced efficient 
drill methods and is credited with having turned the "ragged 
Continental Army" into a disciplined military force; served 
actively in the field, 1780-81. Became an American citizen in 
1783. Shown wearing uniform of the Continental Army; star 
and badge of the Order of Fidelity, awarded in 1769 by Grand- 
Duke Charles Frederick of Baden; and suspended from coat 
lapel the insignia of the American Society of the Cincinnati, 
of which he was one of the founders. The silver-hilted dress 
sword, awarded by Congress, is now in the Mabel Brady 
Garvan Collections, Yale University. The painting is a finished 
replica of a more sketchily treated life portrait which is signed 
and dated 1786. 48% x 41 1 ;. Painted c. 1786. 

Lent by the Yale University Art Gallery 


1 756/57-1 832. Colonel in the army during the Revolu- 
tionary War, and successively secretary of the Board of War 
and Board of Treasury. Practised law in Albany, N. Y., and 
New York. City, and in 1796 was appointed judge of the U. S. 
District Court of New York. Much interested in the develop- 
ment of the western part of the state. Shown in the robe and 
bands of a counsellor-at-law, very similar to those worn by 
ministers of the Gospel. 32 x 29. Signed and dated 1786. 

Lent by Airs. William G. Mather 


1 757-1 854. Elizabeth, daughter of Major General 
Philip Schuyler of Revolutionary War reputation, and his wife 
Catherine Van Rensselaer. In 1780 she married Alexander 
Hamilton, at that time staff officer under George Washington. 
321/2 x 27%. Signed and dated 1787. In the Hamilton Collec- 
tion in the Museum of the City of New York. 


David, 1778-1806, and Sarah, 178 1- ?, two of the five 
children of David and Sarah Hubbell of Greenfield (now 
known as Greenfield Hill), near Fairfield. (See No. 39.) 
37 x 30. Signed and dated 1788. 

Lent by Mr. and Mrs. Charles C. Lawrence 


1 757-1 833. Son of Sherman and Sarah Boardman of 
New Milford, and brother of Elijah Boardman (No. 15). 
Graduated from Yale 178 1 ; went into business with his brother 
in New Milford; represented the town in the General Assembly 
1790-92 ; was a major in the militia. Moved to New York City 
1795, and engaged in wholesale dry goods business. The land- 
scape background includes a view of New Milford, situated 
between the Housatonic River and wooded hills. 81% x 55%. 
Signed and dated 1789. Lent by Mrs. W. Murray Crane 


1760-1823. Brother of Daniel Boardman (No. 14). 
A successful New Milford merchant whose business interests 
finally extended into the Connecticut lands in Ohio. Elected six 
times to the state legislature, first as representative, then as 

senator; from 1821 until his death served as U. S. senator. 
The house built by him c. 1793 is still standing on the Green 
in New Milford. 83 x 51. Signed and dated 1789. 

Lent by Mr. Cornelius Boardman Tyler 


1742-1826. Born in Hartford, he early moved to Litch- 
field, where he held the position of town clerk for thirty-seven 
years, and for sixteen years represented the town in the state 
legislature. An ardent patriot, he was commissioned captain in 
the Connecticut militia, was commissary of supplies in Litch- 
field, and retired in 1783 with the rank of major. The sword 
he is shown wearing was carried by him at the battles of Bemis 
Heights, Stillwater, and Saratoga, and during the Tryon raids 
on Danbury, Ridgefield, and New Haven; it is now in posses- 
sion of St. Paul's Masonic Lodge, Litchfield. 48^ x 35%. 
Signed and dated 1789. Lent by Mrs. Origen S. Seymour 


Molly ( 1752-1826), daughter of Col. Ebenezer Marsh 
and his wife Deborah Buel of Litchfield. She married Moses 
Seymour in 1 77 1 , and had a daughter and five sons, of whom 
the youngest, Epaphroditus ( 1 783-1 853 ) became president of 
the Brattleboro, Vt., bank. 4 8 14 x 3614. Signed and dated 1789. 

Lent by Mrs. Origen S. Seymour 


1 772-1 865. Daughter of Major Moses Seymour and 
his wife, Molly Marsh. In 1791 she married her uncle, the 
Rev. Truman Marsh, for twenty-three years rector of St. 
Michael's Episcopal Church in Litchfield, and headmaster of 
a school. 48 x 36, Signed and dated 1789. 

Lent by Mrs. Origen S. Seymour 


1 726-1 797. Signer of the Declaration of Independence 
from Connecticut, and governor of the state, 1796-97. Son of 
Roger Wolcott, governor from 175 1 to 1754, and father of 
Oliver Wolcott, Jr., governor from 18 17 to 1827. Member of 
the Council, 1774-86; of the Continental Congress, 1775-76, 
1778, 1780-84. Commanded the militia of his state as brigadier- 

general during the Revolutionary War. Lieutenant-governor, 
1786-96. (See also No. 27.) 54 x 44. Painted c. 1789. 

Lent by the Connecticut State Library 


1 754-1 835. Graduated from Yale 1773. Entered the 
army at the outbreak of the Revolutionary War, became known 
for ingenious and daring exploits, was made chief of the Intelli- 
gence Service, and rose to the rank of colonel. The first to dis- 
cover the identity of Major Andre, he became deeply attached 
to the British officer during his brief imprisonment, but had 
the painful duty of leading him to the place of execution. 
Settled in Litchfield in 1784, became a wealthy merchant, and 
member of Congress 1801-17. President of the Connecticut 
Society of the Cincinnati, the insignia of which he is shown 
wearing. 7 S 1 ^ x 54 1 /s- Signed and dated 1790. 

Lent by The Litchfield Historical Society 


Mary (1 763-1 805), daughter of William Floyd (No. 
34) and his first wife Hannah Jones. Married Benjamin Tall- 
madge in 1784, had five sons and two daughters. During earlier 
centuries, boys under three or four years of age were dressed 
like girls, and from their portraits it is often impossible to tell 
them apart, unless their identity is definitely known, as in the 
case of the Tallmadge children. In addition, Henry is shown 
playing with a miniature coach, obviously more a boy's than a 
girl's toy. 78% x 54. Signed and dated 1790. 

Lent by The Litchfield Historical Society 


1 722-1 800. Graduated from Yale 1745. Became the 
second Congregational minister of New Milford, succeeding 
the Rev. Daniel Boardman, whose daughter Tamar he married 
in 1749. He also maintained a grammar school, and was a 
member of the board of trustees of Yale College from 1774 
until his death. (See also Nos. 23, 24 and 40.) 48 x 37. Painted 
c - I 79°- Lent by the Addison Gallerx of American Art 


1764-1841. Son of the Rev. Nathanael Taylor (No. 22) 
and his wife Tamar Boardman. Studied at Yale, dip. 1785, 
M.A. 1788. Appointed captain in the 8th Regiment Cavalry 
1 791; promoted to major 1796, to lieutenant-colonel 1802. 
Judging from the portrait, which shows him sketching a land- 
scape, he was an amateur artist, and he is also credited with 
having carved the frames for this and the companion portrait 
of his wife. The house which he had built in 1784 is still stand- 
ing on the Green in New Milford. 48I/0 x 38. Signed and 
dated 1790. L enl y y t } ie Albright Art Gallery 


1 768-1 845. Born Abigail Starr; married William Tay- 
lor in 1786, and had five children, of whom Daniel Boardman 
( 1 788-1 807) was the eldest. 48% x 38. Signed and dated 1790. 

Lent by the Albright Art Gallery 


1708-1792. Born Bethia Tyler of Wallingford. Mar- 
ried John Watson in 1730. In later life lived in Litchfield. 
According to family tradition the view through the window 
includes the town of Litchfield. 58 x 54. Signed and dated 1 79 1 . 
Lent bx the Munson-Williams-Proctor Institute 


1 76 1- 1 830. Son of the Rev. James Cogswell and his 
first wife Alice Pitch. Graduated from Yale 1780, with the 
valedictory oration. Took up residence in Hartford, and be- 
came an eminent physician and surgeon; was a moving force 
in the founding of the Hartford Asylum for the Deaf and 
Dumb and the Hartford Retreat for Insane People. Credited 
with being the first to introduce the method of extracting a 
cataract from the eye, instead of breaking it up, and also to 
secure the carotid artery with a ligature. President of the 
Connecticut Medical Society 1812-22. 37 x 31%. Signed and 
dated 179 1. Lent by Mr. Ledyard Cogswell, Jr. 


Laura ( 1761-1 8 14) , daughter of Gov. Oliver Wolcott, 
Sr. (No. 19). Born in Litchfield; married in 1785 William 

Moseley, a lawyer of Hartford. Their only child, Charles 
(1786 87-1815) graduated from Yale in 1805 and practised 
law in Hartford. In a letter from Hartford on September 28, 
179 1, Mrs. Moseley tells that her attention "has been en- 
grossed by Mr. Earl," that "painting goes on steadily, though 
slowly," and that "Earl has two or three others in hand." 
This can be accepted as proof that the picture was painted in 
Hartford, and that this was the city indistinctly seen in the 
distance. 8 6 ; >4 x 68 '.4. Signed and dated 1 79 1 . 

Lent by the Yale University Art Gallery 


1740-1830. One of the six sons of Edward and Aletta 
Willett of Queens County, Long Island. Joined Gen. Aber- 
crombie's army in 1758 and fought as a lieutenant in the disas- 
trous Battle of Ticonderoga. Was a cabinet maker in New York. 
1773-74, and a leading member of the Sons of Liberty. At the 
outbreak of the Revolutionary War he became a captain in the 
militia; promoted lieutenant-colonel, 1776; second in command 
at Fort Stanwix (then Fort Schuyler), 1777. Particularly active 
as an Indian fighter; hero of the Sharon Springs fight; success- 
fully negotiated treaties with the Creek Indians. Member of 
the New York Assembly 1783-84; brigadier-general in the 
militia 1792. Succeeded De Witt Clinton as mayor of New 
York 1807-08; president of the electoral college 1824. Shown 
wearing the black and creamish white uniform of the New York 
militia, and the insignia of the American Society of the Cin- 
cinnati. 91^4 x 56. Painted c. 1 79 1 . 

Lent by The Metropolitan Museum of Art 


17 1 8-1 804. Hannah, daughter of Nathaniel and Han- 
nah Gilbert; married Joseph Wright of Middletown. The back- 
grounds of this and No. 30 show scenes along the Connecticut 
River at Middletown. 45% x 35%- Signed and dated 1792. 

Lent by Mr. and Mrs. Joseph W . Alsop 


1 739-1 829. Mary, daughter of Joseph and Hannah 
Wright of Middletown (No. 29). Married Richard Alsop in 
1760. Their son Richard Alsop, 1761-1815, satirist and poet, 

belonged to the literary circle known as the "Hartford Wits." 
45% x $6. Signed and dated 1792. 

Lent by Mr. and Mrs. Joseph W. Alsop 


1771-1797. Son of the Rev. Ephraim Woodbridge and 
his wife Mary Shaw. He married in 1790 Elizabeth Mumford, 
by whom he had three daughters. Mary. Lucretia and Eliza. 
The house he built for his first wife is still standing, though 
somewhat modernized, south of the town of Salem, New Lon- 
don County, a short distance from the old Mumford home- 
stead. Near by is "Fairy Lake." the Paugwonk of the Pequot 
Indians, which can be assumed to be the body of calm water 
seen in the background of the painting. 75% x 39%. Painted 
c I79 2 - Lent by Mr. Joseph T. Ryerson 


(See No. 31.) Mary Woodbridge ( 1791-1818 ) married 
Henry Perkins. 43 x 33. Signed and dated 1793. 

Lent by Mr. William T. Lush 


Elizabeth (1 771-1795). daughter of John and Lucretia 
Mumford of Salem township. New London County. The Mum- 
ford House, built by her father in 1769. is still standing south 
of the town of Salem. Her daughter Lucretia Mumford Wood- 
bridge ( 1 792-1 839) married in 18 15 the Rev. Alfred Mitchell 
of Norwich. Their son, Donald G. Mitchell. 1S22-1908. better 
known as "Ik Marvel." made a distinguished name for himself 
in American letters. 43 x 33. Signed and dated 1793. 

Lent by Mr. Walter L. Mitchell 


1 734-1 8 2 1. Signer of the Declaration of Independence 
from New York. Born at Mastic. Long Island, in the house 
seen in the background of the painting. It was built by his 
father. Nicoll Floyd, about 1720. and is still standing, though 
somewhat changed in appearance because of alterations. Wil- 
liam Floyd gave valuable service in the Continental Congress. 
1774-77. and 1779-83, being particularly active in committees. 

During the years 1789-91, and again in 1808, he was state 
senator. In 1803 he removed to what is now Oneida County, 
N. Y., starting a pioneer life at the advanced age of sixty-nine. 
(See also No. 21.) 47 x 35 1 /->. Signed and dated 1793. 

Lent by The Family of Mrs. John T. Nichols 


1773-1842. Younger of the two daughters of Samuel 
and Sarah Bradley of Greenfield (now known as Greenfield 
Hill), near Fairfield. Remained unmarried. If placed close to 
the companion portrait of Lucy Bradley, so that the sisters face 
each other, the backgrounds join to form a panoramic land- 
scape of the sweeping composition and broad execution charac- 
teristic of Ralph Earl, and unique in American painting of the 
period. From where the two young women are seated, high up 
on Greenfield Hill, grassy meadows bordered by rows of trees 
slope down to the salt marshes at the tidewater, and across the 
Sound the sandy shoreline and wooded dunes of Long Island 
can be seen stretching along the horizon — a setting as simple 
as it is effective. 44 x 32. Signed and dated 1794. 

Lent by the Museum of Fine Arts, Boston 


1768-1823. Elder daughter of Samuel and Sarah Brad- 
ley. Like her sister Huldah she remained unmarried, but other- 
wise seems to have been of a more venturesome disposition, 
as she frequently accompanied her father, who was engaged in 
a coastwise trade with Boston, in his sailing vessels. 44 x 31. 
Signed and dated 1794. 

Lent by The Detroit Institute of Arts 


1752-1830. Son of Abraham Davenport and his first 
wife Elizabeth Huntington of Stamford. Graduated from Yale, 
B.A. 1770, M.A. 1773, and took up the practice of law in 
New Haven. Major in the army during the Revolutionary 
War; member of Congress 1799-18 17. 47% x 40. Signed and 
dated 1794. Lent by Davenport College, Yale University 


1754-1847. Mary Sylvester Wells, daughter of the Rev. 
Dr. Noah Wells of Stamford. Married John Davenport in 
1780. 47 3 /t x 40. Signed and dated 1794. 

Lent by Davenport College, Yale University 


1744-1826. Sarah, daughter of Joseph Perry; married 
in 1773 David Hubbell of Greenfield. (See also No. 13.) 
3714 x 3 ol /4- Signed and dated 1795. 

Lent by Mrs. Percy S. Weeks 


Their father, Nathaniel Taylor, was a son of the Rev. 
Nathanael Taylor (No. 22) ; their mother was Ann Northrop. 
In the group picture are John, 1777- ?, Nathaniel W., 178 1- 
1858, and Charlotte, 1782-1846. As the picture is dated 1796, 
the brothers are shown at the ages of nineteen and fifteen years, 
respectively, and their sister at fourteen. Though at first glance 
this may seem unconvincing, it will be noticed that Charlotte is 
seated in such a way as to make her appear about half a head 
taller than Nathaniel. 48 x 48. Signed and dated 1796. 

Lent by Mr. Charles Goodhue Huntington 


1728-1814. Son of the Rev. Daniel Boardman, first 
Congregational minister of New Milford, and his wife Jerusha 
Sherman. For more than fifty years he was active in his native 
town in various offices and positions of trust, was for a time 
captain in the militia, and was elected twenty-one times to the 
General Assembly. His elder sister Tamar married the Rev. 
Nathanael Taylor (No. 22). 48 x 37. Signed and dated 1796. 
Lent by the New Milford Historical Society 


1 730-1 8 1 8. Born Sarah Bostwick. Her marriage to 
Sherman Boardman took place in 1755, and among their chil- 
dren were Daniel and Elijah, of whom Earl painted portraits 
(Nos. 14 and 1 5 ) , as well as a full-length of Mrs. Elijah Board- 
man and her eldest son William, painted c. 1796. 48 x 37. Signed 
and dated 1796. L ent by t ] lc jy ew Milford Historical Society 


1 765-1 829. One of the thirteen children of Captain 
Lazarus Ruggles and his wife Hannah Bostwick. He became 
a lawyer of prominence, first in his native town of New Mil- 
ford, then in Poughkeepsie, N. Y., and finally in New York 
City. In 1800 he received an honorary degree from Yale. The 

Canfield children (No. 44) were his nephew and nieces. 48 x 
34Vi>- Signed and dated 1796. 

Lent by The Litchfield Historical Society 


The three elder of the four children of Judson and 
Mabel Canfield, who had married in 1786 in New Milford and 
later moved to Sharon, where Judson Canfield practised law. 
They are : at left, Henry Judson, 1 789-1 856 ; at right, Julia E. ; 
in the center, Elizabeth H., 1793-1875. Julia was called "Lily 
of the Valley," and Elizabeth "Rose of Sharon." Julia Can- 
field married Samuel Flewelling, and Elizabeth became the wife 
of Fred. Aug. Tallmadge. 48 x 48. Painted c. 1796. 

Lent by The Litchfield Historical Society 


1770-before 1799. Abigail, daughter of Gershom and 
Priscilla Burr of Fairfield. In 1789 she married William Henry 
Capers, a planter of the Parish of St. Helena, South Carolina. 
The portrait could have been painted only during one of her 
visits — perhaps the last— to her parental home. The porch on 
which she is seated opens to a view of the countryside near 
Fairfield, with two of the town's church spires rising white and 
slender above the treetops, and a glimpse of the waters of the 
Sound and the shoreline of Long Island in the distance. 38^2 x 
35V2- Signed and dated 1797. 

Lent by Airs. Frederic Hanes Lassiter 


1768-1828. Son of Gershom and Priscilla Burr of Fair- 
field; brother of Mrs. William Henry Capers (No. 45). Served 
as brigadier-general in the militia, 1816-24. He is shown seated 
by a window of his home in or near Fairfield, and the artist 
used the opportunity for painting in the background a bit of 
Long Island Sound coast scene; an inlet with reeds growing in 
the shallow water, a duck hunter in a boat, several houses among 
the trees of a small peninsula, and a wharf with two sailing 
vessels — as charming a glimpse of New England as ever came 
from his brush. 36 x 33. Painted c. 1798. 

Lent by Airs. Frederic Hanes Lassiter 


1776-?. Elizabeth, daughter of the Rev. Andrew Eliot 
and his wife Priscilla Lothrop of Fairfield. Second wife of 
Gershom Burr (No. 46), and mother of his nine children. 
Those who take interest in such details will notice that Mrs. 
Burr holds, by a gilt chain, a pet squirrel. In itself this is nothing 
strange, as during the 1 8th century squirrels were favorite house 
pets and can be seen in a number of portraits of the period, 
among them several by Copley. It is, however, usually the small, 
gentle flying squirrel, and occasionally the larger grey squirrel 
which are thus pictured. Mrs. Burr's pet is a red squirrel, notor- 
ious for its wildness and considered to be untameable. 36 x 33. 
Signed and dated 1798. Lent by Mrs. Walter R. Herrick 


Earl, like other itinerant artists, often stayed as a guest 
at the homes of those whose portraits he was painting, though 
he seems to have preferred "finding his own support," as a 
notice in the Litchfield Weekly Monitor in 1796 expresses it. 
It can be assumed that in the smaller villages, without an inn, 
he couldn't find "his own support," and according to tradition 
he was a house guest of Judge and Mrs. Judson Canfield in 
Sharon when he painted their portraits and the group picture of 
their children, and feeling that he had overstayed his welcome, 
painted this landscape and presented it to Judge Canfield. The 
scene possibly pictures the Canfield home, though this must re- 
main conjecture, as the house no longer stands. 34% x r J2y 8 . 
Painted c. 1796. Lent by The Litchfield Historical Society 


Since its acquisition in 19 16 by the Worcester Art Mu- 
seum this panoramic landscape— probably the earliest view of 
Worcester — has been known under the title Looking East from 
Leicester Hills. After studying all the facts that could be 
gathered, the museum authorities have decided to change the 
title to the more accurate one Looking East from Denny Hill. 
According to tradition, the picture was painted by Earl at the 
request of Col. Thomas Denny, Jr., whose grandfather, Daniel 
Denny, was one of the earliest settlers in that region and in 
17 17 established his homestead and farm on one of the highest 

hills, since known as Denny Hill. Here Col. Denny spent most 
of his life, and when in 1 79 1 he built a new house on Leicester 
Hill, he wished to take with him a picture of the view so famil- 
iar to him since his childhood. He moved to his new house only 
in 1802. Until 19 16 the painting remained in the possession of 
his descendants. 

The winding road seen at left in the middle distance, is what 
was then the post-road between New York and Boston; it is 
now Main Street in Worcester. The spire of the First Parish or 
Old South Church in Worcester, which stood where the City 
Hall now is, appears at the farther side of a heavily wooded 
tract. To the left (or north) of it can be seen the spire of the 
Second Parish Church, which then stood near the corner of 
Belmont and Summer Streets. As this spire was not built before 
1790, the picture must have been painted during the ensuing 
decade. To the extreme left (and north of the Second Parish 
Church) are houses on what is now Lincoln Street. 

The block-lettered inscription "R. Earl Pinxit 1800" cannot 
be accepted as by the artist himself; it is obviously a later addi- 
tion by another hand. As the year 1800 witnessed Earl's com- 
plete breakdown as a person and an artist, a slightly earlier 
dating would be much more convincing. 46 x 79 1 /!- Painted c. 
1796-98. Ozvned by the W orcester Art Museum 

A set of four line-engravings by Amos Doolittle (1754- 
1832), each measuring 11. 10 x 17.9. (See under "1775" in 
"Chronology of the Artist," in front part of the catalogue.) 
The engravings, which bear only Doolittle's name, are the first 
prints published in Connecticut, and Earl's paintings — of which 
only A View of the Toivn of Concord is extant — are consid- 
ered to have been the first historical pictures painted in Amer- 
ica. The titles of the engravings are: I. The Battle of Lexing- 
ton. II. A view of the Town of Concord. III. The Battle of 
North Bridge, in Concord. IV. The South part of Lexington, 
where the first detachments were joined by Lord Percy. They 
were advertised for sale on December 13, 1775, as "neatly en- 
graven on Copper, from original paintings taken on the spot. 
Price six shillings per set for the plain ones, or eight shillings 
coloured." Lent by the New York Public Library 



Alsop, Mrs. Richard 30 

Boardman, Daniel 14 

Boardman, Elijah 15 

Boardman, Sherman 41 

Boardman, Mrs. Sherman 42 

Bradley, Huldah 35 

Bradley, Lucy 36 

Buckminster, Rev. Joseph I 

Burr, Gershom 46 

Burr, Mrs. Gershom 47 

Canfield Children, The 44 

Capers, Mrs. William 

Henry 45 

Carpenter, Mary 3 

Carpenter, William 4 

Christie, General Gabriel 9 
Cogswell, Dr. Mason 

Fitch 26 

Davenport, John 37 

Davenport, Mrs. John 38 

Earl, Mrs. Ralph 6 

Floyd, William 34 

Gentleman with a gun and 

two dogs 8 

Hamilton, Mrs. 

Alexander 1 2 

Hubbell Children, The 13 

Hubbell, Mrs. David 39 
Moseley, Mrs. William, 

and son Charles 27 

Ruggles, Philo 43 

Seymour, Clarissa 18 

Seymour, Major Moses 16 
Seymour, Mrs. Moses and 

son Epaphroditus 17 

Sherman, Roger 2 

Steuben, General Baron 

Von 10 

Tallmadge, Benjamin, and 

son William Smith 20 

Tallmadge, Mrs. Ben- 
jamin, with son Henry 
Floyd and daughter 

Maria Jones 21 

Taylor, Rev. Nathanael 22 
Taylor, William 23 

Taylor, Mrs. William, 

and son Daniel 24 

Taylor Children, The 40 

Troup, Robert 11 

Trumbull, Dr. Joseph 7 

Watson, Mrs. John 25 

Willett, Col. Marinus 28 

Williams, Lady, and child 5 
Wolcott, Sr., Oliver 19 

Woodbridge, Nathaniel 

Shaw 31 

Woodbridge, Nathaniel 
Shaw, and daughter 

Mary 32 

Woodbridge, Mrs. 
Nathaniel Shaw, and 
daughter Lucretia 33 

Wright, Mrs. Joseph 29 


Landscape near Sharon 48 
Looking East from Denny 
Hill 49 


The Battles of Lexington 
and Concord, 1775 50-53 

ROGER SHERMAN (1721-1793) 
Lent by the Yale University Art Gallery 

MARY CARPENTER (c.1763-?) 

Oivned by the Worcester Art Museum 

Owned by the Worcester Art Museum 


Lent by The Metropolitan Museum of Art 

ELIJAH BOARDMAN (1760-1823) 
Lent by Mr. C. Boardman Tyler 


Lent by the Litchfield Historical Society 


Lent by the Litchfield Historical Society 

WILLIAM TAYLOR (1764-1841) 
Lent by the Albright Art Gallery 

MRS. WILLIAM TAYLOR (1768-1845) 

Lent by the Albright Art Gallery 

Lent by the Addison Gallery of American Art 


Lent by Mr. Charles Goodhue Huntington 

MRS. RICHARD ALSOP (1739-1829) 
Lent by Mr. and Mrs. Joseph W. Alsop 


Lent by the Yale University Art Gallery 

GERSHOM BURR (1768-1828) 
Lent by Mrs. Frederic Hemes Lassltcr 

Lent by Mrs. IV alter R. Herrick 


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